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clevelandclassical, January 20, 2015
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by Monica Hunter-Hart |
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CD Review: Jonas Kaufmann — Du bist die Welt für mich |
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Who
among us can recall, through personal memory, the Weimar
Republic’s cultural renaissance from 1924-1929, considered the
German Golden Era? Such a person would have to be around a
hundred years old. German tenor Jonas Kaufmann probably won’t
find many centenarians among his audience—but Sony Classical’s
September 2014 release Du bist die Welt für mich (“You Mean the
World to Me”) is sure to make listeners yearn for a time they
never knew.
Kaufmann’s project was to render anew classic
tunes from the Golden Era’s operettas and films—the album is
full of favorites from this period, like “You Are My Heart’s
Delight” and the title song. In another historical tribute, the
CD was recorded in the Nalepastraße radio station, which
broadcasted East Germany’s official radio programs after the
Second World War.
Kaufmann enjoys an international
career. He is perhaps best known in America for his starring
roles at New York’s Metropolitan Opera, and has even had the
rare privilege of performing a solo recital there. On this CD he
alternates between singing in German, English, and even French.
The album booklet helpfully includes English translations, but
listeners without a physical copy will feel no strong
impediment, since he conveys emotions so rawly that the basic
narrative of every song is clear.
And the narratives are
rollercoasters. A rich spectrum of emotions associated with
love—tenderness, furious passion, mournful longing—does not
merely span the CD, but appears across almost every song
(sometimes several times in one verse). Kaufmann captures and
even adds to these emotional fluctuations. Though the music is
regularly punctuated by repeated lines, he bestows distinct
flavors upon them.
His phrasing is impressive for its
naturalness: Kaufmann hides the challenge of wordy lyrics
through remarkably economical breath management. Another of his
notable techniques he saves for lyrically tender moments: he
strongly emphasizes the beginnings of notes and syllables and
then drops off, creating the impression that his emotions
overwhelm him.
Kaufmann gets to utilize this method a
lot, for the stories depicted in these pieces are all
sentimental. Seven of the seventeen songs specifically reference
dreaming, and the rest are dreamy in mood. Kaufmann passes up
the opportunity to communicate the intentional silliness in the
over-the-top prose, but his amorous sincerity glamorizes even
the most depressing of narrative premises, like the painful
farewells in “Give Me Your Hands Again in Parting” and “Don’t
Ask Me Why.” The album is an escape: through it we can forget
ourselves and live through snapshots of starry-eyed romantics,
basking in the simplicity of the sentiments they express.
Soprano Julia Kleiter joins Kaufmann for three engrossing
duets, most notably “O Happiness That Was Left to Me.” Either
these two singers share a mental wormhole, or their rehearsals
were beyond thorough: the flawlessness with which they match
their vowels is almost implausible, and their consonants are so
in sync that they seem to be emoted by one voice.
The
Berlin Radio Symphony Orchestra, conducted by Jochen Rieder,
captures the playfulness in many of these pieces while
maintaining orchestral polish at each moment. In “Somewhere in
the World,” every note arrives perfectly in its rhythmic place
through impeccable delivery. This glossiness is appropriate for
an album of nostalgia: it adds to the sense that the grass in
the past was indeed greener.
Du bist die Welt für mich is
born of memory, celebrating what history remembers as the
beautiful Golden Era. This is perhaps most perfectly embodied in
the song “Say Hello to My Vienna,” which acts not only as a
character’s recollection of the city he loves, but as Kaufmann’s
gesture of nostalgia to the Germanic region of this time period.
Through passionate execution, he commemorates this Vienna as the
place where “the loveliest songs are sung.”
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